Content architecture hasn’t changed yet. The skills and talent are the same. A story that connects is the same. The Internet just added an extra layer of knowledge to the harder skill of the art.. Those with that layer most likely are good at the part of the iceberg that is presently in focus.

What’s funny to note is how many technology based media delivery companies now, after scaling, are trying to pivot to content companies and learning.. Oooooh that’s the hard part. Art and meaning that moves massive amounts of people is hard. So they are fighting anyone who actually took the $$$$ risk and had the skill to do so …that they have been scaling on the backs of for next to nothing. When it comes to the Internet (outside SAAS & selling stuff) and retail/ad placement ..content architecture has “first in first out” contract ability… & therefore king.

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The 8 New Concepts that we deal in every day. The essence of the future of all media and the internet. Storycube (Cube). Hyv. Hypervideo Mapping/Mapper. Tu-Is (Transmedia User Interface System)/aka “the force”. Amythecary. Portkeys/Wormholes/Horcruxes. “Intra”grated Retail. Fringe/Inception concepts and the need for an initial infrastructure in created reality between states..

Turing's ties in "Math" -the biopic are all portkey's

1. Storycube –

Dimensional and multi-state storyline. A cubic story that may hold numerous storylines… and “flows”.   It is story that exists across and within (common layback) media and more importantly upon media that are “themselves” crossed.  Layering, creating currents, flow, osmosis and dimension within and between other storycubes/active story events in other layers/existences… both virtual and real.  It is imminently apparent that a writer be aware of the stone from which they are cutting their sculpture from.  The old unused stone is now accessible to the viewer. As interface is becoming ubiquitous to film, gaming and tv It inherently will compel traditional medium narrators/narratives build “grammatical, exhibition and production” infrastructure and shape the permeable layers (the UX) around what we create to assist and guide from an initial architected universe of the story with regard to better accessible immersion and exit points.  To guide (not necessarily force) any additional extension of experience for the viewer.

Storycube is a dimensional storyline.  It is a new communication/message architecture shaped from an expanding and new form of channel/consumption/reception ability of audiences.  It is inclusive of transmedia but transmedia is a subset and an early concept of  story that can cross media not focus on media and platforms that are already crossed.  The new medium does not predecate “transmedia” because transmedia is inherently disruptive to flow and not focused on unified and ease of 4th wall strengthening and flow.  Storycube focuses on diminishing disruption (unless purposeful disruption by breaking between and across platforms and formats).

2. Hyv

Hyv is short for hypervideo.  It is a term we use for the metadata and infrastructure that creates the transparent and extraneous interface that exists around the main experience.  It is/was termed short from hypervideo 7 years ago… but includes much more than just a simple hypervideo interface.  It is a concept that there is a ghost behind the experience.  A data and action ghost.  Think of the entire activity that exists below DisneyWorld to make it run.  One inherently important piece of hyv is the connections between prep, production, distribution, consumption and storage with hypervideo, AR, audio layering and recognition and “surface” (surface includes smell, speed and temperature). (Many in the HTML5 community think that HTML5 and canvas will create the structure alone…but there is a need for AR and hypervideo to be =… and HTML5 will have trouble with that alone).

3. Hyv Mapper

A role incredibly important in production now.  Oversees all interface with a storycube.  Placement, match and tracking.

4. Tu-Is (Transmedia User Interface System)/aka “the force

If Hyv is the activity under Disney World  …then Tu-Is is the park as a whole.  (minus the storycube concepts of of Mickey, etc.).  The force as we have been calling it is the tools that make a storycube run, heavily reliant on software, hardware and most often overlooked but will be key… the cloud & multi-pipe synced delivery. (…oh and that means many…”clocks”)

5. Amythecary

A position that is an expert in Tu-Is/the force.  A role who oversees both the Hyv and all technology, tools and concepts involved in the UX. From events, to audio recognition… from ARG’s to input… from social media to retail rounding.  This position, like a cinematographer, an AD, an editor… may have the same skills as the initial cuber, but is the cuber’s other “#1.”  They are skilled in the world’s of programming and interface… both virtually and in reality. An “amythecary” can take a storyteller’s cube…and make it just that…thick with interface and dimension.

6. Portkeys/Wormholes/Horcruxes

Objects and sensory stimuli that exist to notify people of the Hyv and force.  Whether it be a dialogue line, a door, a phone, a color, a song, an emotion… in a film or show (portkey) that people can click on or grab or interface with in any form… that takes them to …somewhere else… or caches it’s holdings.  Wormholes are the links between and within storycubes…via portkeys or horcruxes.  Horcruxes are objects(, etc.) in reality that hold  the soul of the story within them…they, too, are portkeys and portals into a storycube. Often the wormhole from a horcrux may more likely be termed a “rabbit hole.”

7.”Intra”grated retail.

Intragrated (as opposed to integrated) retail is the market within the storycube.  It is inherently important to the trust of the audience and the strength of the cube architecture (and it’s worth and value of return) that any retail transaction placed/paid to be in the storycube is in the flow of the story.  Meaning… a transaction of retail needs to reinforce the audience’s experience as much as vice versa.  Therefore even for the retailer, the story location around the placement of which should be decided and built before they are involved.  It also must be decided by the storycube creator who can interpret which transactions and retail presence/option enhances the flow… and which do not.  Bad placement in the story or storycube architecture…as much as marketers may push…must be in the flow of the audience’s purpose (emotion, appetite, utility… or ethos, pathos, logos).  That should be decided by the person building that first..and then with retailer’s agreement.  …or it will backfire overall.

8.Fringe/Inception concepts and the need for the initial infrastructure of numerous storycubes.

All stories have the same DNA.  All stories exist within reality.  All stories exist within virtuality.  They are built from the same existence.  Only they are layered and designed in different ways.  Storycubes have shadows of walls/perimeters… but they all can be connected within or across them.  I have been lucky to have written and created as many storyworld/universes in my 40 some odd years (I think I am in the 400′s on scripts).  In the last ten years, I have been melding, extracting, overlapping casting, rewriting and collaborating with other story tellers and brands and programmers to build all of this.  Hyv and the force… need stories initially to build their architecture on and within.  When someone is annoyed or pushing to release just one…they inherently do not understand the state of the technology and the fact that the, at least, initial structure is incredibly complex… and would be pretty close to impossible unless many projects, platforms and states… were all ready to receive it.  I tell everyone to go watch the film, Inception, again… and the show, Fringe.  This paradigm shift is inherently a complex change in our thinking of story and communication… Each storycube holds elements of the concepts in the plot lines of those two stories.  Soon it will be second nature for most… but the future isn’t transmedia where we just jump between platforms… It is a new form of communication structure/experience and channel…that needs a new architecture of inception, production and message.

The 8 New Concepts that we deal in every day. The essence of the future of all media and the internet. Storycube (Cube). Hyv. Hypervideo Mapping/Mapper. Tu-Is (Transmedia User Interface System)/aka “the force”. Amythecary. Portkeys/Wormholes/Horcruxes. “Intra”grated Retail. Fringe/Inception concepts and the need for an initial infrastructure in created reality between states..

Turing's ties in "Math" -the biopic are all portkey's

1. Storycube –

Dimensional and multi-state storyline. A cubic story that may hold numerous storylines… and “flows”.   It is story that exists across and within (common layback) media and more importantly upon media that are “themselves” crossed.  Layering, creating currents, flow, osmosis and dimension within and between other storycubes/active story events in other layers/existences… both virtual and real.  It is imminently apparent that a writer be aware of the stone from which they are cutting their sculpture from.  The old unused stone is now accessible to the viewer. As interface is becoming ubiquitous to film, gaming and tv It inherently will compel traditional medium narrators/narratives build “grammatical, exhibition and production” infrastructure and shape the permeable layers (the UX) around what we create to assist and guide from an initial architected universe of the story with regard to better accessible immersion and exit points.  To guide (not necessarily force) any additional extension of experience for the viewer.

Storycube is a dimensional storyline.  It is a new communication/message architecture shaped from an expanding and new form of channel/consumption/reception ability of audiences.  It is inclusive of transmedia but transmedia is a subset and an early concept of  story that can cross media not focus on media and platforms that are already crossed.  The new medium does not predecate “transmedia” because transmedia is inherently disruptive to flow and not focused on unified and ease of 4th wall strengthening and flow.  Storycube focuses on diminishing disruption (unless purposeful disruption by breaking between and across platforms and formats).

2. Hyv

Hyv is short for hypervideo.  It is a term we use for the metadata and infrastructure that creates the transparent and extraneous interface that exists around the main experience.  It is/was termed short from hypervideo 7 years ago… but includes much more than just a simple hypervideo interface.  It is a concept that there is a ghost behind the experience.  A data and action ghost.  Think of the entire activity that exists below DisneyWorld to make it run.  One inherently important piece of hyv is the connections between prep, production, distribution, consumption and storage with hypervideo, AR, audio layering and recognition and “surface” (surface includes smell, speed and temperature). (Many in the HTML5 community think that HTML5 and canvas will create the structure alone…but there is a need for AR and hypervideo to be =… and HTML5 will have trouble with that alone).

3. Hyv Mapper

A role incredibly important in production now.  Oversees all interface with a storycube.  Placement, match and tracking.

4. Tu-Is (Transmedia User Interface System)/aka “the force

If Hyv is the activity under Disney World  …then Tu-Is is the park as a whole.  (minus the storycube concepts of of Mickey, etc.).  The force as we have been calling it is the tools that make a storycube run, heavily reliant on software, hardware and most often overlooked but will be key… the cloud & multi-pipe synced delivery. (…oh and that means many…”clocks”)

5. Amythecary

A position that is an expert in Tu-Is/the force.  A role who oversees both the Hyv and all technology, tools and concepts involved in the UX. From events, to audio recognition… from ARG’s to input… from social media to retail rounding.  This position, like a cinematographer, an AD, an editor… may have the same skills as the initial cuber, but is the cuber’s other “#1.”  They are skilled in the world’s of programming and interface… both virtually and in reality. An “amythecary” can take a storyteller’s cube…and make it just that…thick with interface and dimension.

6. Portkeys/Wormholes/Horcruxes

Objects and sensory stimuli that exist to notify people of the Hyv and force.  Whether it be a dialogue line, a door, a phone, a color, a song, an emotion… in a film or show (portkey) that people can click on or grab or interface with in any form… that takes them to …somewhere else… or caches it’s holdings.  Wormholes are the links between and within storycubes…via portkeys or horcruxes.  Horcruxes are objects(, etc.) in reality that hold  the soul of the story within them…they, too, are portkeys and portals into a storycube. Often the wormhole from a horcrux may more likely be termed a “rabbit hole.”

7.”Intra”grated retail.

Intragrated (as opposed to integrated) retail is the market within the storycube.  It is inherently important to the trust of the audience and the strength of the cube architecture (and it’s worth and value of return) that any retail transaction placed/paid to be in the storycube is in the flow of the story.  Meaning… a transaction of retail needs to reinforce the audience’s experience as much as vice versa.  Therefore even for the retailer, the story location around the placement of which should be decided and built before they are involved.  It also must be decided by the storycube creator who can interpret which transactions and retail presence/option enhances the flow… and which do not.  Bad placement in the story or storycube architecture…as much as marketers may push…must be in the flow of the audience’s purpose (emotion, appetite, utility… or ethos, pathos, logos).  That should be decided by the person building that first..and then with retailer’s agreement.  …or it will backfire overall.

8.Fringe/Inception concepts and the need for the initial infrastructure of numerous storycubes.

All stories have the same DNA.  All stories exist within reality.  All stories exist within virtuality.  They are built from the same existence.  Only they are layered and designed in different ways.  Storycubes have shadows of walls/perimeters… but they all can be connected within or across them.  I have been lucky to have written and created as many storyworld/universes in my 40 some odd years (I think I am in the 400′s on scripts).  In the last ten years, I have been melding, extracting, overlapping casting, rewriting and collaborating with other story tellers and brands and programmers to build all of this.  Hyv and the force… need stories initially to build their architecture on and within.  When someone is annoyed or pushing to release just one…they inherently do not understand the state of the technology and the fact that the, at least, initial structure is incredibly complex… and would be pretty close to impossible unless many projects, platforms and states… were all ready to receive it.  I tell everyone to go watch the film, Inception, again… and the show, Fringe.  This paradigm shift is inherently a complex change in our thinking of story and communication… Each storycube holds elements of the concepts in the plot lines of those two stories.  Soon it will be second nature for most… but the future isn’t transmedia where we just jump between platforms… It is a new form of communication structure/experience and channel…that needs a new architecture of inception, production and message.

The 8 New Concepts that we deal in every day. The essence of the future of all media and the internet. Storycube (Cube). Hyv. Hypervideo Mapping/Mapper. Tu-Is (Transmedia User Interface System)/aka “the force”. Amythecary. Portkeys/Wormholes/Horcruxes. “Intra”grated Retail. Fringe/Inception concepts and the need for an initial infrastructure in created reality between states..

Turing's ties in "Math" -the biopic are all portkey's

1. Storycube –

Dimensional and multi-state storyline. A cubic story that may hold numerous storylines… and “flows”.   It is story that exists across and within (common layback) media and more importantly upon media that are “themselves” crossed.  Layering, creating currents, flow, osmosis and dimension within and between other storycubes/active story events in other layers/existences… both virtual and real.  It is imminently apparent that a writer be aware of the stone from which they are cutting their sculpture from.  The old unused stone is now accessible to the viewer. As interface is becoming ubiquitous to film, gaming and tv It inherently will compel traditional medium narrators/narratives build “grammatical, exhibition and production” infrastructure and shape the permeable layers (the UX) around what we create to assist and guide from an initial architected universe of the story with regard to better accessible immersion and exit points.  To guide (not necessarily force) any additional extension of experience for the viewer.

Storycube is a dimensional storyline.  It is a new communication/message architecture shaped from an expanding and new form of channel/consumption/reception ability of audiences.  It is inclusive of transmedia but transmedia is a subset and an early concept of  story that can cross media not focus on media and platforms that are already crossed.  The new medium does not predecate “transmedia” because transmedia is inherently disruptive to flow and not focused on unified and ease of 4th wall strengthening and flow.  Storycube focuses on diminishing disruption (unless purposeful disruption by breaking between and across platforms and formats).

2. Hyv

Hyv is short for hypervideo.  It is a term we use for the metadata and infrastructure that creates the transparent and extraneous interface that exists around the main experience.  It is/was termed short from hypervideo 7 years ago… but includes much more than just a simple hypervideo interface.  It is a concept that there is a ghost behind the experience.  A data and action ghost.  Think of the entire activity that exists below DisneyWorld to make it run.  One inherently important piece of hyv is the connections between prep, production, distribution, consumption and storage with hypervideo, AR, audio layering and recognition and “surface” (surface includes smell, speed and temperature). (Many in the HTML5 community think that HTML5 and canvas will create the structure alone…but there is a need for AR and hypervideo to be =… and HTML5 will have trouble with that alone).

3. Hyv Mapper

A role incredibly important in production now.  Oversees all interface with a storycube.  Placement, match and tracking.

4. Tu-Is (Transmedia User Interface System)/aka “the force

If Hyv is the activity under Disney World  …then Tu-Is is the park as a whole.  (minus the storycube concepts of of Mickey, etc.).  The force as we have been calling it is the tools that make a storycube run, heavily reliant on software, hardware and most often overlooked but will be key… the cloud & multi-pipe synced delivery. (…oh and that means many…”clocks”)

5. Amythecary

A position that is an expert in Tu-Is/the force.  A role who oversees both the Hyv and all technology, tools and concepts involved in the UX. From events, to audio recognition… from ARG’s to input… from social media to retail rounding.  This position, like a cinematographer, an AD, an editor… may have the same skills as the initial cuber, but is the cuber’s other “#1.”  They are skilled in the world’s of programming and interface… both virtually and in reality. An “amythecary” can take a storyteller’s cube…and make it just that…thick with interface and dimension.

6. Portkeys/Wormholes/Horcruxes

Objects and sensory stimuli that exist to notify people of the Hyv and force.  Whether it be a dialogue line, a door, a phone, a color, a song, an emotion… in a film or show (portkey) that people can click on or grab or interface with in any form… that takes them to …somewhere else… or caches it’s holdings.  Wormholes are the links between and within storycubes…via portkeys or horcruxes.  Horcruxes are objects(, etc.) in reality that hold  the soul of the story within them…they, too, are portkeys and portals into a storycube. Often the wormhole from a horcrux may more likely be termed a “rabbit hole.”

7.”Intra”grated retail.

Intragrated (as opposed to integrated) retail is the market within the storycube.  It is inherently important to the trust of the audience and the strength of the cube architecture (and it’s worth and value of return) that any retail transaction placed/paid to be in the storycube is in the flow of the story.  Meaning… a transaction of retail needs to reinforce the audience’s experience as much as vice versa.  Therefore even for the retailer, the story location around the placement of which should be decided and built before they are involved.  It also must be decided by the storycube creator who can interpret which transactions and retail presence/option enhances the flow… and which do not.  Bad placement in the story or storycube architecture…as much as marketers may push…must be in the flow of the audience’s purpose (emotion, appetite, utility… or ethos, pathos, logos).  That should be decided by the person building that first..and then with retailer’s agreement.  …or it will backfire overall.

8.Fringe/Inception concepts and the need for the initial infrastructure of numerous storycubes.

All stories have the same DNA.  All stories exist within reality.  All stories exist within virtuality.  They are built from the same existence.  Only they are layered and designed in different ways.  Storycubes have shadows of walls/perimeters… but they all can be connected within or across them.  I have been lucky to have written and created as many storyworld/universes in my 40 some odd years (I think I am in the 400’s on scripts).  In the last ten years, I have been melding, extracting, overlapping casting, rewriting and collaborating with other story tellers and brands and programmers to build all of this.  Hyv and the force… need stories initially to build their architecture on and within.  When someone is annoyed or pushing to release just one…they inherently do not understand the state of the technology and the fact that the, at least, initial structure is incredibly complex… and would be pretty close to impossible unless many projects, platforms and states… were all ready to receive it.  I tell everyone to go watch the film, Inception, again… and the show, Fringe.  This paradigm shift is inherently a complex change in our thinking of story and communication… Each storycube holds elements of the concepts in the plot lines of those two stories.  Soon it will be second nature for most… but the future isn’t transmedia where we just jump between platforms… It is a new form of communication structure/experience and channel…that needs a new architecture of message.

The Force.

The Force.

The biggest use of AR will be in screen extractions. Which means hypervideo and AR would need to be the same. Filmed in a way that becomes the un-disruptive or purposefully disruptive jump between senses and media. This is/will be the dimensional welding between media, platforms, reality, consciousness and ubiquity. The issue is learning how to do that (and to be honest nobody has done more work on that than I).